Color and Technique

          Islamic art coloring and technique developed and changed through its ruling power and outside influences. The individual cultures were unified by the Islamic religion. Therefore, religion dominated Islamic art forms. Specific techniques and color schemes can be identified through changes in the Islamic empire. Overall, I observed highly saturated colors in the works. The colors include shades of brown, red, yellows, oranges, as well as bright blues and greens. Islamic art also used metals for their works. Silver, bronze, and gold is also very prevalent throughout the exhibit. Here are two examples of luxury ceramics that were popular for 12^th-13^th century Islamic culture.

Museo Nazionale d'Arte Orientale (Rome, Italy) AD 12-13th

The “Bowl with Horseman” is an example of mina’I  (“enamel”); a type of ceramic distinguished by its limited color scheme and technique native to Kashan in North Iran. A mina’I pattern contains seven different colors. This particular bowl is decorated with polychrome, vegetal design. The lusterware technique typically used in Kashan would have given the ceramic an overall brown-yellow tone that appeared metallic. The gold or bronze inlay can still be seen. It accentuates the minor details of the painting, outlining details of the horses riding wear and sleeves of the man’s outfit. The polychrome and luster technique used for this particular piece, was very time consuming and expensive. By the precious metal inlay we can tell this is a luxury ceramic. What is significant about the technique used is its effect on the color. During the lusterware method, colors were applied both before and after being glazed. The stable colors that could be fired without diminishing the color, were placed before the glazing. These colors included deep blues, greens, and purples. The colors used before the glaze seem to have been preserved better, while the red, blacks, and golds painted on after the finish have faded. Though the colors now appear more muted, the colors were more likely very rich and the lusterware added gave it a metallic shine.

          The colors are much more preserved in this ceramic. Though it is from around the same time period, we can note many differences and so infer a more specific time period. The bowl appears to be an example of fritware, a specific Islamic technique dating back to the 11^th century. It more simplistic and lighter than the first piece, thought to imitate Chinese design and influence. In the beginnings of these earthen wares, Islam used lighter colors, but as it developed more of its unique taste, the colors became darker and the designs more elaborate. The characters in this piece are much more stylized and contain a lot more design and detail. Depicted here is also a horseman. The horses both seem to be painted black with the man painted in brighter color. This makes the man and zoomorphic figures stand out from the dominant black figures. The color pattern of the ceramic is formally balanced. The colors are mirrored all around the piece. Metal inlay is not present in so it can also be assumed that this is from an earlier period before metal trading became popular in the society. 

Kaylyn Burrow